I.K. Taimni - An Introduction to Hindu Symbolism

8/21/2019 I.K. Taimni - An Introduction to Hindu Symbolism

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AN INTRODUCTION TO HINDU SYMBOLISM

BY

I. K. TAIMNI

1980

THE THEOSOPHICAL PUBLISHING HOUSE ADYAR, MADRAS 20, INDIA


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CONTENTS

CHAPTER PAGE

I. Introduction 3

II. Devis and Devatas as Powers and

Functions of the one God 7

III. General Principles of Hindu Symbolism 11

IV. Natural Symbolism: The Symbology of

Shiva-Linga 15

V. Artificial Symbolism: The Symbology of

Mahesha 20

VI. The Symbology of Trideva 28

VII. The Stories of Hiranyakashipu and

Bhasmasura 33

VIII. The Churning of the Ocean (Samudra-

Manthana) 38

IX. The Allegory in Durga-Saptashati 49


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CHAPTER I

INTRODUCTION

ANYONE who studies Hindu scriptures is struck by the odd mixture of the highest philosophical doctrines on the one hand and crude fetish worship and myths on the other. And

the most remarkable thing which strikes outsiders who have not studied these things deeply is

how otherwise intelligent people can accept these things as a matter of course and even take

part in ceremonies in which Divinity is worshipped in grotesque forms. You will find, for

example, a professor of philosophy lecturing on Vedanta in a university and explaining to the

students very carefully the subtle conception of Nirguna-Brahman. The same professor comes

home and in the evening takes part most enthusiastically in die worship of Kali, the Goddess

with a flaming sword and a garland of sculls round her neck. You find the same professor

again, next day, offering Ganga water and bel leaves to an ellipsoid made of stone in a temple.

And the strange thing about this religious life of the Hindus is that it does not occur to these

people that there is any contradiction involved in their attitude to the many Gods whom they

worship, sometimes in very strange forms.

Another aspect of the same phenomenon is the ready acceptance of the innumerable

stories of different gods and goddesses in our scriptures, specially the Puranas, which are so

popular among the masses. Many of these stories are absurd in the extreme, some of them are

even revolting and insulting to our intelligence. And yet, not only illiterate and unintelligent

people, but also educated and highly intelligent people, read the Puranas with great devotion

and derive real spiritual sustenance and inspiration from them. When a learned Pandit

(scholar) reads a colourful account of the wedding of Shiva and Sati with great devotion,

sceptics might feel amused at his credulous attitude, but he does not see any absurdity in the

apparently absurd story. He knows in his heart of hearts that he is reading an allegorical

account of a great occult truth. The very absurdity of the story shows that it is not to be taken

literally and hides a profound truth.

It is true that many common people among the Hindus take many of these things as

literally true and this has led to the growth of superstitions and perverted religious ideas. But I

do not think there are many people, even among those who are illiterate, in whose

subconscious mind there is not a vague conviction that behind these apparently absurd stories

there are hidden great spiritual truths even though they may not understand what they are. It is


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this intuitive perception or conviction which is the basis of their faith and not lack of

intelligence, or credulity or superstition, as is generally supposed.

A close and careful study of the Hindu scriptures should convince anybody who has

some insight into these things that it is not only the Vedas, Upanishads, the philosophical

works, and such other high class literature which are the repository of the highest

philosophical and religious truths, but even popular literature like the Puranas contains, as an

integral part of it, the highest wisdom though in a veiled form. In fact, it is this dilution of

wisdom with stories and illustrations which has made it easily assimilable, and enabled it to

survive the ravages of time and changing environment, and to be handed on from generation

to generation almost intact. For one person who can study and understand the highly

philosophical truths in their nakedness, there are a thousand who study them clothed in the

popular form of stories, and that is how these truths have continued to influence and inspire

the masses, generation after generation. And the fact that the wisdom and knowledge have

and have been effective in keeping alive spiritual traditions and conceptions shows the

wisdom of our Rishis (sages) who devised this popular method of spreading and transmitting

ideas of great value to humanity. If our spiritual culture is to survive it is necessary that these

truths and traditions be kept alive among the people as a whole and not be confined among a

few erudite scholars.

What has been said above with regard to the presentation of spiritual ideals through

stories holds good also with regard to the presentation of spiritual and philosophical concepts

in the form of symbols. The deeper truths of spiritual life are really beyond the grasp of the

lower mind and are matters of direct realization in the deeper states of consciousness. But a

keen and trained intellect may be able to deal with these truths, partially and indirectly, in the

form of philosophical conceptions and concepts. These intellectual interpretations can give a

faint glimpse into the nature of these truths especially if the mind has been purified and the

light of Buddhi illuminates it to some extent. But these purely intellectual conceptions are

bound to be abstract and can be grasped only by people whose higher minds are well

developed. The ordinary man finds it very difficult to understand them or to take any real

interest in them.

Are the masses then to be deprived completely of the benefit of knowing these truths?

The art of symbolism was created to enable the ordinary man to derive at least some

advantage from these ideas, to keep alive his interest in them and thus make possible the

transmission of these precious ideas from generation to generation as part of the generalculture and heritage. A symbol is a concrete thing which every man can see and remember. If


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he understands its inner significance well, the symbolic representation does not interfere with

his understanding of the truth. On the other hand, it helps him to fix it more easily in his mind.

If he does not understand the inner significance, he, at least, knows that it represents some

inner truth and has, generally, a vague idea about it. He can thus maintain, at least, a

superficial contact with the truth and derive some inspiration from it. Even the most learned

philosopher can, at best, know the truth very vaguely as long as he has not realized it directly.

Even if he takes the thing literally, which is hardly possible for any sane person, he carries in

his mind a form which can be invested with life and meaning quite easily. In fact, it will be

difficult to find an individual in India, in whose mind these symbols associated with Divine

life are not associated in some degree with meaning and who does not feel more or less

devotion towards them. We thus see that symbols and allegories may to a certain extent step

down the truths of the higher life and may even debase them, but they keep them alive and

thus enable the common people to derive some measure of inspiration from them.

Most of us do not realize what an important part symbolism plays in our life.

Language through which we communicate ideas is purely symbolical in character. We assign

certain meanings to words and then use these words as coins or counters for the

communication of ideas. There is no natural relationship between words and the ideas for

which they stand except when they are used for their sound effect in Mantra Yoga. When, for

example, the word prasannam is used in the dhyana-mantra of Mahesha we use a sound for

representing the state of ananda (bliss) in which He lives. When a smile is shown on His face

in a picture we use a visual device for representing the same idea.

His expression of religious and philosophical ideas through symbols is not an art

peculiar to Hinduism. It has been practised since times immemorial in many parts of the

world but perhaps it has never been developed to such a degree or practised on such a wide

scale as in Hinduism. It is a great pity that the study of this art has been completely neglected

in modern times with the result that our ideas regarding religious and philosophical truths

have become confused and a lot of superstition has crept lotto our life. This ignorance of the

symbolism hidden especially behind the forms of religious worship is to a great extent

responsible for the declining faith in our religious ideals and an increasing interest in

materialistic pursuits. In our modern scientific age what one cannot explain, one is inclined to

relegate to the realm of superstition and the modern educated Hindu is thus reduced to the

necessity of either believing in these things blindly or ignoring them as products of fancy or

superstition.


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But decline in faith among the modern educated Hindu is not the only undesirable

result of this lack of knowledge concerning the symbolical character of religious forms of

worship and the religious lore of Hinduism. It has prevented the doctrines of Hindu religion

receiving from the Western people the serious consideration which they deserve on account of

their inherent reasonableness and highly philosophical character. It is true that Western

scholars have given a lot of their time to the study of Hindu religion and done much to spread

this knowledge among Western people. But they have done it in a purely academic spirit,

regarding these things as relics of the phases through which the Hindu mind has passed in the

past and to which it is clinging rather credulously in the present. They can study and record

the customs of primitive tribes in the heart of Africa with the same care and the same

detachment. For lack of the key to symbolism which lays open the inner meaning, they have

not been able to take these things seriously as representing the truths of the inner life of the

spirit based upon facts of experience of spiritually enlightened people.

Many devotional people are afraid to look into these things because they think that

such a study will undermine their devotion. This is obviously a mistaken attitude. The truths

hidden behind the symbols are so magnificent and of such deep import that devotion should

become strengthened and not weakened on understanding the inner significance of the

symbols. A new understanding dawns in our mind which not only illumines it and enriches

our conception but also brings out a deeper and more intelligent kind of devotion. The

understanding of the inner significance of the symbolic form does not deprive us of the form

to which we may have become attached. It ensouls that form with a new life. This is a

necessary step in our progressive realisation of the reality hidden behind the symbol within

ourselves.


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CHAPTER II

DEVIS AND DEVATAS AS POWERS AND FUNCTIONS OF THE ONE

GOD

BEFORE we deal with the symbolism underlying the many forms in which the Hindu

worships God, it is necessary to say a few words about the conception of Devis and Devatas

in Hinduism. There is no aspect of Hinduism which is more misunderstood and

misrepresented than the existence of a large number of forms, some of them grotesque, in

which different people worship the Divine Being. People who are superficially acquainted

with the basic conceptions which underlie Hindu religion and philosophy seriously believe

that the Hindu worships innumerable gods and goddesses. Nothing is farther from the truth. Itmust be said however, that there is some justification for this gross misunderstanding. The

manner in which the different forms are worshipped, the large number of superstitions which

have gradually grown round them, the misleading statements which are some times made in

the Puranas and other similar literature, all these things can easily give the wrong impression

that Hindus are polytheistic.

The misconceptions and misunderstandings surrounding this subject are easily

removed if it is understood clearly that the Hindu worships only one God and the different

gods and goddesses who are included' in the Hindu pantheon are merely representations of the

functions and powers of that Supreme God in the manifested Universe. The Universe is not

only a vast, but an extremely complicated organism, especially when we take into account the

invisible worlds which are hidden within the visible physical world. If we examine the

machinery of an ordinary modern government or the complex equilibrium of different natural

forces which is hidden behind an ordinary physical phenomenon we derive some idea of the

unimaginable complexity of the functions and powers which must be required for running the

machinery of a universe or solar system. Taking the simpler unit of a solar system for our

consideration, we find that according to Occult Doctrine it comes into being periodically out

of the One Supreme Brahman and after functioning for some time within His consciousness

again disappears into the same Supreme Brahman. The creation, dissolution and the

preservation of this huge and complicated organism requires innumerable functions and

powers of greater or lesser importance as in running the machinery of a government. Even the

creative and destructive functions are not simple as is generally imagined. Creation does not

come to an end when a solar system comes into being; destruction is not needed only when it


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goes into pralaya (dissolution). These functions continue throughout the period of

manifestation. And so do all the other functions which are subordinate to, or are associated

with, these three important functions. It is these various functions and the powers

corresponding to them which are sought to be represented in the forms of different gods and

goddesses or Devatas and Devis as they sure called in Hinduism. According to Hindu

philosophy this Universe is merely an expression or manifestation of the Supreme Brahman

outside whom nothing can possibly exist. So all these innumerable functions and powers

exercised in relation to the manifested Universe must be rooted in that Brahman and must be

ultimately His functions and powers. The Devis and Devatas can, therefore, be nothing but

representations of His functions and powers.

The Devatas and Devis are shown in male and female forms because the function and

the corresponding power which enables that function to be exercised are related to each other

as two poles, or positive and negative principles. In fact, the existence of the manifested

Universe depends upon the primary differentiation of the one Reality into two polar aspects,

one positive the other negative, the positive aspect being the source of all functions and the

negative aspect the source of all powers. Both the aspects are conscious Principles for in that

transcendent state there can be nothing but consciousness.

These two opposite aspects are called Shiva and Shakti and from them arise all the

functions and powers which are required when a manifested universe comes into existence.

The main functions are, of course, those of creation, preservation and destruction, but there

are innumerable others which are derived from or associated with these. It is not possible to

enter here into a detailed discussion of the relations existing between these various functions

and powers but there are two points which must be made clear to enable the reader to

understand easily the details of some symbologies discussed later:

The first point concerns the relations between Devis and Devatas. It will be seen that

not only are there innumerable functions and powers in action in the manifested Universe but

that each function must be related to its specific power which can make it effective, so that the

whole set off functions is matched by a corresponding set of powers like an object and its

shadow, and the Devis and Devatas can thus be paired off scientifically. This principle lies at

the basis of the fact that particular Devis are related to particular Devatas and are called their

consorts. Thus Sarasvati is the consort of Brahma, Lakshmi that of Vishnu and Kali of Rudra.

A great deal of confusion exists in Hindu religious literature with regard to this matter owing

to lack of proper differentiation between functions and powers on a scientific basis, but onecan, at least, understand the general principle.


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The second point is concerned with the relation of Shiva, Mahesha and Rudra. These

three names are used interchangeably in Hindu scriptures and for popular treatment of many

subjects this does not matter. But from the strictly philosophical and scientific point of view

this is not correct and leads to confusion. There are three clearly-defined and distinct

functions we have to take into account in considering the mechanism of manifestation from

the occult point of view and, for the sake of clarity and consistency, each of these names

should indicate only one of these functions.

It is not possible to deal here at length with the subtle but real differences in these

functions. It may be merely pointed out that taking everything into consideration—the

meaning of the words, tradition, and symbology, etc.—it is desirable to confine the name

Shiva to that underlying Reality which always remains unmanifest in polar relationship with

Shakti. It is the hidden source of all functions which are needed in manifestation and the

repository of all manifested systems when they pass into a state of pralaya or dissolution. The

name Mahesha—meaning the Supreme Ruler or Lord—should obviously be used for that

Reality which is called Logos and which lies at the basis of a manifested system and rules,

controls and energizes it through its three well-known aspects: Brahma, Vishnu and Rudra. It

is the base of a tetrahedron with its three faces, the triple bel leaf with its three separate

leaves. The remaining name, Rudra, should thus be reserved for the more limited function of

destruction. Rudra is thus the third member of the Trinity, the other two being Brahma and

Vishnu. These three aspects of Divinity called Shiva, Mahesha and Rudra, though distinct, are

related to each other in a very mysterious manner and this partially accounts for the prevailing

confusion with regard to their functions and the names which indicate them. But it is not

possible to go into this subtle question here. The student should have a clear idea with regard

to the three functions indicated above. It will then not really matter to him which name is used

for the function involved in a particular Context.

A clear grasp of the fundamental principles underlying Hindu symbolism will enable

the student not only to have a correct idea with regard to the essential nature of Devis and

Devatas, but also enable him to avoid the confusion resulting from the mixing up of these

functions and names. This is rather a disconcerting aspect of the gradual degeneration and

confusion which has crept into Hindu philosophical conceptions as a result of the static and

orthodox tendencies which have characterized philosophic thought in this country for a long

time. The whole subject requires to be studied carefully so that the fundamental doctrines and

conceptions of Hinduism may become clarified and order and harmony may be evolved out ofthe chaos which Hindu religion appears to an outsider. This will not be easy and will require


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prolonged and painstaking research but this is very necessary if the ideas of Hindu religion are

to be placed on a rational basis. In these days of free thinking and scientific enquiry, one

cannot expect to satisfy people with jumbled-up ideas, but must present them, at least

rationally, if not scientifically.

The preliminary consideration of the points discussed above has cleared the ground

and we can now take up the subject proper.


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CHAPTER III

GENERAL PRINCIPLES OF HINDU SYMBOLISM

SYMBOLISM is the art of representing ideas, objects, processes, etc. through signs orsymbols. A thing which typifies or recalls something naturally by possession of analogous

qualities is called a symbol. But we are not concerned in this book with symbolism in general

but with the application of this art in representing truths of Hindu religion and philosophy. In

the limited context in which we are using the word we may say that symbolism is the art by

the help of which truths of religion and philosophy can be represented through forms, signs

and stories. Let us not bother about definitions and academic aspects of the subject but come

straight to the particular aspect of the subject which we want to study, namely the

representation of religious and philosophical ideas through symbols and allegories. The

underlying ideas will become clear only after we have considered different aspects of the

subject, using a number of examples to illustrate the principles involved.

It would help us to understand more easily what is to follow if we first discuss briefly

what may be called the general principles of Hindu symbolism. These principles, as far as I

know, have not been studied or set forth systematically and one can only deduce them from a

general study of Hindu religion and philosophy combined with the deeper knowledge of the

realities of life which is found only in true Occultism and Mysticism. Symbolism is an art and

not a science and the symbols are selected, except in the case of natural symbolism, not on a

scientific basis but with a view to convey to the common man the underlying ideas as easily

and effectively as possible. So, the study of symbolism is mostly a question of interpretation

and not scientific investigation and presentation. The interpretation should be such as to

appeal naturally to one's reason and commonsense. In fact, it is possible to have more than

one interpretation of the same symbol both equally reasonable and illuminating. It is also

possible that one may not be able to interpret a particular symbol or may interpret it

incorrectly. The important thing about Hindu symbolism is not what is the exact meaning of

everything, but that everything has a meaning and generally a profound significance

connected with spiritual life.

But this does not mean that a person is free to interpret the symbols according to his

own sweet will. Those who devised the symbols were men of real knowledge. They had

definite ideas in their mind which they sought to represent by means of these symbols. True

interpretation means catching those ideas through intuition and reflecting them as faithfully as


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possible for the benefit of others. It is necessary to point out this fact because there is a

tendency among a certain class of people to make all kinds of wild suggestions in the way of

interpretation, based on very superficial considerations. This kind of interpretation makes

confusion worse confounded and further weakens the faith of the average student in the

profound significance of the symbols.

In considering symbolism as a method of representing the truths of the inner life, it is

necessary to distinguish first between symbol and allegory. The two methods corresponding

to these may be called static and dynamic symbolism. In the first method we use a form to

symbolize the thing to be represented. The form may be simple or complex. It may symbolize

a particular law or quality or power or it may symbolize a number of these in an integrated

form. The common characteristic of all such static symbols is that no movement in time or

apace is involved.

Dynamic symbolism is generally known by the name of allegory. In this there is a

narrative description under guise of which a moral law, a natural process or spiritual truth is

sought to be conveyed in an interesting manner. The story may, or may not, suggest by an

apparent similarity what is sought to be represented. Generally it does not, and that is why

such stories are taken literally by the unwary. The general characteristic of dynamic

symbolism is that there is movement in the form of a story or the unfolding of a gradual

process with different stages.

Static symbolism may be further subdivided into two classes, which may be called

natural and artificial. An artificial symbol is chosen arbitrarily to represent a particular thing

because it recalls the thing by virtue of its possessing analogous qualities or through

association in thought. There is no natural relation between the two and it is possible to select

another symbol which is equally or more effective in this respect. A natural symbol, on the

other hand, not only symbolizes the thing in question but also manifests it in a mysterious

manner on account of some hidden natural relation between the two. The difference between

the two is like the difference between a name and a vachaka used in Mantra Yoga. A name is

chosen arbitrarily and has no natural connection with the object for which it is used. Another

name could serve the purpose equally well. But a vachaka is a special name which embodies

in a mysterious manner the power and qualities of the vachya, the thing which it indicates. So

it is possible to establish a relation with, and draw upon, the power of the latter with the help

of the former, as is done in Mantra Yoga. Similar is the relation between a natural symbol and

the object it represents. These things will become clear when we consider illustrativeexamples of each.


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In considering artificial symbols which are used in the Hindu religion it appears to be

a fundamental principle that in representing anything the symbol chosen is such that it

naturally and easily suggests the thing which is sought to be represented. Symbols were meant

to give to the common man a concrete object which he could visualize easily and through

which he could associate the truths of the inner life in his mind in an integrated form. They

were not meant merely for scholars who could grasp abstract ideas to a certain extent and do

without any concrete representation. It was, therefore, essential that the symbols used were

those taken from familiar objects and such objects as would naturally suggest the quality, state

or power which was sought to be represented. Even when a person could grasp the abstract

ideas and had to a certain extent outgrown the use of the concrete symbols, these symbols,

were meant to help him to fix the different ideas in an integrated manner in a composite

mental image. The human mind needs something concrete to which to hold on. It cannot work

in a vacuum. It also needs to keep before it an idea of the inner realities. A concrete symbol,

therefore, satisfies very effectively both these needs and may be considered as a very happy

synthesis of the concrete and the abstract.

The second general principle which we should keep in mind is that in representing a

Devi or Devata, everything in the form, and associated with the form, is meant to have a

symbolic significance though we may not be able to trace the relation between a particular

symbol and the thing symbolized. The complexion of the skin, the smile on the face, the

object held in the hand, the manner in which the hand is raised, all these things have their

meaning as well as the more concrete and prominent objects associated with the form. If,

therefore, the sadhaka (aspirant) keeps in his mind the total image with all its component

parts and knows also what each part represents, he can have a very elaborate and

comprehensive idea with regard to the nature and powers of the Devi or the Devata. The need

for such a concept becomes imperative when he tries to pass from the worship of the mere

outer form to that of the Reality within. The bhakta (devotee) usually starts his meditation

with forming an image of the form of his Ishta-devata (chosen deity) in his mind. But the next

stage is meditation on His qualities or attributes and this knowledge concerning the

symbology of the Devata helps him a great deal in this stage. It is only through such a

meditation that he can draw nearer to his Ishta-devata said prepare himself for the still higher

stage in which he tries to transcend the mental concept and grasp the Reality by fusing his

consciousness with the consciousness of the Ishta-devata. The Devata of the mere beginner is

in the external form, that of the advanced sadhaka (aspirant) in the realm of the higher mind


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and that of the siddha (the perfected individual) in his heart, in the realm of consciousness

which transcends the intellect.

It should be noted that the remarks in the previous paragraphs are applicable only to

forms which are truly symbolic in character and not to those forms which represent historical

figures, either Avataras (divine incarnations) or spiritual teachers of mankind. These forms

are generally the product of the imagination of artists who try to give expression in those

forms to the traditional ideas with regard to those historical or mythological figures. Thus the

form of Krishna is not symbolic in character while that of Vishnu is. The devotee may use

such a form in meditation but he will have to draw upon historical or mythological accounts

of the life of that Teacher or upon his imagination for the attributes, etc. associated with him.

Sometimes such a historical figure is taken as ah Avatara or incarnation of Devata and it is

then permissible to see in the form of the Avatara the attributes and powers associated with

that Devata.

After considering the general principles of Hindu symbolism we shall now take a few

examples to illustrate these principles and to show the profound significance hidden behind

these symbols which most Hindus know and worship and very few care to understand. We

shall begin with natural symbolism.


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CHAPTER IV

NATURAL SYMBOLISM

The Symbology of Shiva-Linga

IT has already been pointed out that in natural symbolism the thing represented and the

symbol are related naturally and, therefore, the symbol not only represents the reality which it

symbolizes but also serves, to a certain extent, as a carrier or vehicle of the power and

qualities of that reality. Natural symbols are mostly mathematical forms and some knowledge

of mathematics is necessary for full appreciation of the wonderful relationship which exists

between a reality and the form which symbolizes that reality.

The most important and fundamental symbol of this nature is the three-dimensional

sphere which is represented by a circle in two dimensions. Those who have even as

elementary knowledge of mathematics can understand that the sphere is the most perfect form

in three dimensions known to us. The distance of the centre of a sphere from every point on

its surface is the same. If you take any cross-section of a sphere it will be a circle which is a

perfect figure in two dimensions. In short, it is a perfect figure all whose parts are

symmetrical and harmoniously balanced. For this reason the sphere should be a natural

symbol of the Ultimate Reality which is Complete, Whole, Perfect, and in which all tattoos,

principles, powers, etc. exist in perfect balance.

Why is it, then, not used as a symbol of the Ultimate Reality which is called Para-

Brahman in Hindu philosophy? Because this Ultimate Reality cannot be an object of worship

and no kind of relation can be established between It and the sadhaka (aspirant). On account

of Its very perfection in which all possible opposites are perfectly neutralized and all different

kinds of principles are perfectly blended. It must for all practical purposes be a void though it

contains all these opposites and principles within Itself. As the perfect blending of all colours

of the spectrum results in the production of white light in which one seeks in vain for any

vestige of colour, so the perfect blending of all tattvas results in a state in which one seeks in

vain for any point with which to establish contact from outside. It is, therefore, the Ever-

Unknowable, the Ever-Darkness to those who are in manifestation and the only way to

approach it is through the Shiva-Shakti tattva which is the Principle in contact with It from

within.

It will be easy to understand this unresponsiveness of the Ultimate Reality if we

remember that it is when the primary differentiation of that Reality into the Shiva-Shakti


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Principle takes place that Shakti appears and response of any kind becomes possible. For

response of any kind presupposes the existence of power which can meet the aspirations and

devotions of the devotee or the seeker, and a State in which Power as such, does not exist,

must be a Temple which remains always closed.

It is for this reason that the sphere has never received recognition as a symbol and has

never been worshipped. But there is no reason why we should not consider it as a symbol of

that Reality from the philosophical and scientific point of view, for it plays an important and

significant part in the phenomena of Nature.

The second natural symbol which plays a very important part in Hindu religion is the

ellipsoid which is derived from the sphere by the separation of two focii from the one centre.

Everyone can understand how a circle changes into an ellipse if the centre separates into two

focii. In the same way, a sphere in three dimensions becomes an ellipsoid when two focii

separate from the one centre of the sphere. If the two focii of the ellipsoid are progressively

brought closer together it becomes more and more like a sphere and when they coincide we

again get a perfect sphere; so that roughly we may say that an ellipsoid is formed when a uni-

focal sphere becomes bifocal by separation of two foci. The moment the two focii separate the

total perfection of the sphere is destroyed and a kind of vikara (distortion) is introduced in the

perfect balance and harmony which was present in the sphere. But even with this partial

distortion the ellipsoid retains some of the perfection of the sphere. For example, a cross-

section of the ellipsoid at right angles to the axis is always a circle, a cross-section along the

axis is always an ellipse. So that the ellipsoid stands between the mathematically perfect

sphere and all the imperfect solids which it is possible to imagine.

It will be seen from what has been said above about the properties of an ellipsoid that

it is eminently suited for symbolizing the Shiva-Shakti tattva, the state which comes between

the perfect state of the unmanifest Ultimate Reality and the imperfect state of the manifested

Universe full of all kinds of distortions and disharmonies. The Shiva-Shakti tattva is the

result, from the philosophical point of view, of the primary differentiation of the Ultimate

Reality into two ultimate principles, one positive, the other negative. These two principles are

not only equal and opposite but bound together by means of a polar relationship of which

modern science provides many well-known illustrations. They together provide a kind of

conscious receptacle in which every system which has been in manifestation rests during the

period of dissolution and from which it emerges again when manifestation takes place. In this

respect It is somewhat like the Karana-Sharira (causal body) of a Jivatma (individual soul)which is the repository, between successive incarnations, of all the impressions of previous


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experiences ( samskaras). But of course, the Shiva-Shakti tattva is a transcendent state of

consciousness at a tremendously high level, and not a body like the Karana-Sharira.

All these things are well known and have been pointed out very briefly to show how

the ellipsoid serves as a perfect natural symbol of that Reality which is known as the Shiva-

Shakti tattva in Hinduism. This ellipsoid is called a Shiva-linga, the word linga in Sanskrit

meaning symbol or emblem. The two focii of the ellipsoid correspond to the two poles which

represent the positive principle called Shiva and the negative principle called Shakti. It is true

that both these principles are in a potential state but in this potential state is hidden the

tremendous Energy which in its innumerable forms runs the machinery of the Cosmos as well

as all the manifestations of consciousness from the Highest to the lowest.

Is there any indication that this form which symbolizes the Shiva-Shakti tattva plays a

fundamental part in the structure and functioning of the manifested Universe? Yes. Let us

consider manifested life at three levels: solar, human and atomic. The solar system consists of

the Sun with the planets going round it. The motion of a planet around the Sun follows

Kepler's three laws. Each planet describes an ellipse having the Sun at one focus, the motion

being fastest when the planet is nearest the Sun and slowest when it is furthest away. Even

comets describe ellipses around the Sun, generally very elongated ellipses in contrast to the

nearly circular planetary orbits. Now, an ellipse is merely a cross-section of an ellipsoid, and

the elliptical orbits of the planets show clearly that the ellipsoid plays a decisive role in the

structure of the solar system on the subtler planes of higher dimensions. Another significant

fact which may be noted here is that the Sun is at one focus of these orbits. Where is the other

focus? Obviously, this is invisible and is the real Moon referred to in Occult literature, the

negative counterpart of the positive Sun.

Let us now come down to the human level. Clairvoyant research has shown that on the

lower planes where form plays a dominant role, all the vehicles of the Jivatma (individual

soul) have the form of an ellipsoid. It is true that the denser part of the body has not this form

but the aura in which this body is embedded, has. Even the aura of the physical body has this

form, as has been shown by Dr. Kilner by his researches on the health aura, using certain

chemicals like dicyannin for sensitizing the eyes. A form is a visible expression of the totality

of invisible forces which work in the background on the subtler planes. The fact that the

bodies of man in the realm of forms conform to the ellipsoid as a prototype shows definitely

that this form plays a fundamental role in the expression of Divine consciousness at the

human level. The fact that among living creatures it is only in a human being that the Shiva-tattva is present adds deeper significance to the ellipsoidal form of his bodies.


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Let us now come to the lowest level, that of the atom. As is well known, an atom is a

solar system in miniature. There is a nucleus charged with positive electricity round which

negatively charged electrons whirl at a tremendous speed. The nature of the orbits in which

the electrons move are ellipses. Bohr in his famous theory regarding the structure of the atom

had assigned circular orbits to these electrons but it was shown later by Sommerfeld that the

orbits should be elliptical. Just as in the case of the macrocosmic Solar System the elliptical

nature of the planetary orbits shows that it is the ellipsoid which lies at the basis of the Solar

System in the archetypal world, so does the elliptical nature of the electronic orbits in the

microcosmic atom show that the forces which mould the atom on the physical plane emanate

from an ellipsoidal archetype.

It will be seen, therefore, that at all the three levels on which Divine Life finds

expression in a fundamental unit of manifestation, the ellipsoid plays a definite though

invisible role and the supremacy of this form as a basis of manifestation is established without

any reasonable doubt.

Is it any wonder then that this form is regarded as sacred and worshipped as a symbol

of that Dual, Transcendent, Unmanifest Reality which is referred to as the Shiva-Shakti

tattva? But its claim to be considered as the highest object of worship on the physical plane is

based on something more significant than its being merely a prototype of fundamental forms

of manifestation. A full discussion of this problem will take us too deeply into the mysteries

of inner life and cannot be taken up here. It will be enough to point out that just as there is a

mysterious relation between sound and consciousness which forms the basis of Mantra Yoga,

so there is also a similar relation between form and consciousness which is the basis of the

power which is inherent in such natural symbols. According to the theory of Mantra Yoga it is

possible to establish communication with a Devata through a mantra. Similarly, through a

symbolic form of this nature it is possible to become en rapport with the Reality which it

symbolizes—not artificially but naturally. How this is done is a question with which we are

not concerned here. It is a mystery relating to the inner life of man which can be resolved only

in one way—through inner realization.

The discussion of Shiva-linga as a symbol of the Shiva-Shakti tattva will not be

complete without at least a passing reference to a development brought about by the

perversity of the human mind which can sometimes vulgarize and drag down the highest

truths to the lowest levels. Who would believe after reading what has been said above that this

sacred symbol could be dragged down by perverted minds to the level of ordinary sex? TheShiva-Shakti tattva is above the highest levels of manifestation and sexual generation belongs


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to a very low level in the scale of manifestation. In fact, it developed in the later stages of

evolution both according to Science and Occultism. Besides, the linga represents the two

Primary tattvas in one, both the tattvas being potential in this state and so incapable of being

associated with sex in any manner. It is true that the polarity implied in the Shiva-Shakti tattva

may be the ultimate basis of the polarity inherent in sex. But in that way it is the ultimate

basis of every kind of polarity in the manifested Universe. No one associates the polarity

found in an ordinary magnet with the Shiva-Shakti tattva and starts worshipping it.

In dealing with the symbology of Shiva-linga we have considered only one natural

symbol based on the well-known mathematical three-dimensional figure called the ellipsoid.

In Occult Science other mathematical figures like the triangle, square, etc. are also used as

symbols for different aspects of the One Reality and as these symbols are natural symbols

based on mathematics they should have some occult properties. These potential occult

properties should be inherent in the mathematical figure which embodies, as it were, the

power of the corresponding tattva which it represents.

Are these occult properties of these figures also utilized in Hindu worship ? Yes. The

whole science of Yantras is based on this. A Yantra is nothing but a combination of

mathematical figures in a particular manner which can be made the vehicle of certain occult

properties in the same manner as a mantra is a particular combination of sounds and has

certain potencies associated with it. But as in the case of mantras, there are two conditions for

its becoming an effective instrument of real power. It must have been constructed on scientific

principles and connection must be established with the corresponding power on the inner

planes by a person who has the necessary knowledge. Otherwise, it is a mere geometrical

figure. The real science of Yantras like that of mantras has disappeared to a great extent and

its outer form is utilized by unscrupulous people to exploit the credulous and the ignorant.


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CHAPTER V

ARTIFICIAL SYMBOLISM

The Symbology of Mahesha

LET US now take up for discussion another symbolic form in which the Hindu worships

Divinity—that of Mahesha. This form belongs to the category of artificial symbols in the

sense that the various components of the composite, integrated image have been chosen not

because there is any natural relationship between them and the powers and principles which

they represent but because they come nearest to them in appearance or function. They,

therefore, easily and naturally suggest to the mind, the inner realities which are sought to be

represented by them. For this reason neither any component symbol, nor the integrated

symbol as a whole, possesses any special inherent power or potentiality and whatever power

or influence the symbol may come to possess is derived from the gradual building up of the

mental, emotional and spiritual links between the mind of the aspirant and the object of

worship. The worshipper should never forget that He with whom he wants to commune is

present within his own heart as a conscious Reality and the mental image which he forms in

his mind and vitalizes with his aspiration and devotion acts as a real link between him and his

Ishta-devata (chosen deity). Through it he can establish an ever-deepening relationship until

the barrier between the seeker and the object of his search dissolves completely and the two

come face to face.

It will be seen, therefore, that a symbolic form of this type is not necessarily less

effective than the one with a natural relationship, for, everything depends ultimately on the

will, devotion and intelligence of the aspirant and not on the symbol itself. A natural basis

merely helps to bring about more easily a rapport between the devotee and the object of his

devotion but cannot dispense with the factors which depend upon the aspirant himself.

Practically all the symbols of this nature which a Hindu worships are human in form—

male or female. Before dealing with the symbology of Mahesha we might first consider why

these Divine functions and powers—called Devatas and Devis—are always represented in the

human form. This practice is based on one of the principles of Hindu symbolism referred to

previously, namely that the thing chosen as a symbol is one which comes nearest to the object

represented either in appearance or function. A human being is a manifestation of life which

comes nearest to Divinity. In the human form consciousness has unfolded to the highest

degree so far. The human individual is a microcosm in which all the powers, functions and


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faculties, which are manifesting in the Universe on a macrocosmic scale, are present in a

potential form or have been made partially active. It is the only living form which contains

hidden within it the highest Divine Principle, Shiva-tattva, which confers on it the capacity of

unfolding ad infinitum until the Divine element hidden within it becomes united with the

Divine Principle hidden in the whole Universe. It is, therefore, obvious why the human form

should be chosen as the symbol of Divinity and the different functions and aspects of Divinity

should be represented in this form by associating it with various objects.

It may also be mentioned in this connection that it is only in the human form that the

Divine Life descends from time to time either as an Avatara or as a great Spiritual Teacher. It

is true that Avataras have taken place in sub-human forms but that happened before the

human form had been evolved. Besides, the stories of these Avataras are allegories indicating

different stages of evolution and should not be taken literally. Hinduism attaches great

importance to the human form and according to it the final perfection of spiritual life can be

unfolded only through a human body. According to one of its doctrines even the Devas whose

abode is in the Heaven world have to come down to the physical world and take a human

body in order to gain the final perfection of mukti (liberation).

There is one other point which may be cleared up before we take up for discussion the

detailed symbology of Mahesha. It has been pointed out already that in the Hindu scriptures

the names, Shiva, Mahesha, Rudra, etc. are used indiscriminately. But since such a practice is

too widely prevalent and is deeply rooted in our traditions, all that can be done now is to keep

clearly in one's mind the particular level or function involved in a particular context and not

mind the particular name which has been used. Since we have already dealt with the Shiva-

Shakti tattva and its symbol, the Shiva-linga, we have now to take the next lower level of

Reality, namely the Maheshvara-Maheshvari tattva which is the basis of all manifested

systems and in its three aspects—Brahma, Vishnu and Rudra and their consorts—carries on

all the activities connected with these systems. Every Ishvara of a solar system is a facet and

an expression of the Maheshvara-tattva as the very name Maheshvara (Maha + Ishvara)

indicates. It is the symbology of this tattva represented in the familiar human form and also

sometimes referred to as Shiva, Shankara or Mahadeva that we shall now study.

The symbology of Mahesha, or Shiva as He is generally referred to, is the richest and

the most profound in the whole field of Hindu symbolism. It involves practically every

philosophical concept of the highest spiritual significance and occult truths relating to the

innermost mysteries of life. These philosophical concepts or occult truths are represented bydifferent objects and features associated with the human form which symbolizes Him. So


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multifarious are the functions and aspects of His nature that it is difficult to include all the

symbols indicating them in one integrated image and it is the common practice to include only

a few of these in one particular representation. That is how we find the symbolic images

varying somewhat in detail. But there are a few symbols which are so necessary for depicting

His essential nature that they are generally included in practically every representation. These

are the Crescent Moon, the Damaru (drum), the Bull, the Tiger's Skin, the Trident and the

Snake, All these symbols are familiar things of daily life but they represent the deepest and

most significant truths of the inner life. That is why this form presents an ever-inexhaustible

source of inspiration and a fascinating object of meditation. It arouses not only the deepest

emotions of the devotee but also of those who are on the Jnana-marga (Path of Knowledge),

Even a philosopher like Shankaracharya was a devotee of Shiva and composed many hymns

which show a marvellous synthesis of knowledge and devotion.

Let us now take some of these symbols and consider their underlying significance. We

shall begin with the damaru which Mahesha holds in one of His hands. It is well known that

in Hindu symbolism, hands symbolize the powers of the Devata and the object held in the

hand gives an idea of the particular power represented. That is why a Devata or Devi is

sometimes shown with more than two hands.

The damaru represents one of the subtlest occult doctrines of Hindu philosophy which

has been wonderfully illuminated by some of the researches of modern Science. According to

this doctrine the Maheshvara-tattva is a critical state coming between the Nirguna-Brahman

(attributeless Brahman) or the latent Shiva-tattva and the Saguna-Brahman (Brahman with

attributes) functioning as Trideva or the Triple God—or Brahma, Vishnu and Rudra. It must,

therefore, combine the attributes of the two states which are utterly dig-similar or rather which

are poles apart. The Real and the unreal, the unmanifest and the manifest belong to two

different categories of existence which cannot be fused into one homogeneous state. If they

have to be brought together they can remain only in the form of an apparently homogeneous

but really heterogeneous state in unstable equilibrium. The analogy of the formation of an

emulsion from two immiscible liquids may to a certain extent give some idea of this state. The

state of emulsion is kept up by agitation or motion and when there is no agitation the liquids

tend to separate into two separate layers which serves to illustrate the separation of the Real

and the unreal when the agitations of the mind are eliminated and perfect tranquillity is

attained. The illustration of the state of emulsion, though apt in one sense is defective,

inasmuch as it represents a static condition while the Maheshvara-tattva is a dynamic state.The best example in the field of Science of this transcendent state is perhaps resonance.


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Resonance, as those who have some knowledge of physics and chemistry know, is a state

produced by the alternation of two states at a tremendous speed. The alternation is so rapid

that a third kind of state scans to appear. This state is a critical dynamic and non-

homogeneous state, though outwardly it appears to be homogeneous. Because it is produced

by the alternation of two opposite states it partakes of the nature of both but is wholly neither

one nor the other.

Now, the damaru produces just such a state in the realm of sound. It produces

apparently one homogeneous sound which is composed of two different sounds produced by

the ball striking the two membranes alternately. It is eminently suited, therefore, to represent

the important function of Mahesha to bring into some kind of relationship the unmanifest state

of Shiva-Shakti tattva and the manifest state of Ishvara-tattva represented by Brahma, Vishnu

and Rudra. The suitability of the damaru as a symbol is due not only to the fact that it

combines two states in one but also to the fact that it produces sound which in its subtlest

form forms the very basis of the manifested Universe and is generally referred to as Nada. It

is through this alternating mechanism, if such a phrase may be used for a purely spiritual

process, that the potential Energy in the Shiva-Shakti tattva is transformed into the kinetic

Energy required for running the machinery of a manifested system.

It will be seen, therefore, that the damaru of Mahesha represents that power of His by

which He maintains a manifested universe in existence. His consciousness at one moment is

centred within Himself—in His svarupa (own form) and at the next moment it is centred in

the manifested universe and becomes its indwelling Reality. When the consciousness is

centred within Himself and He directs His attention inwards He is the unmanifest Brahman

and the universe disappears because it is based on His consciousness, and deprived of that

basis, cannot exist. When He directs His attention outwards and ‘imagines’ the Universe, it

comes into existence instantaneously. It follows from this that the existence of the manifested

Universe is not a continuous phenomenon. It is intermittent just as the picture on the screen in

a cinematographic projection is intermittent and is produced by alternate periods of light and

darkness. This intermittence of the Universe which should not be confused with the

alternation of srishti (manifestation) and pralaya (dissolution) is not a mere ingenious

speculation but a doctrine of both Hindu and Buddhist philosophy supported by occult and

mystic traditions. It was difficult to understand it so far but the progress of Science and the

discovery of analogous phenomena in the field of physical phenomena has thrown a flood of

light on this doctrine and transformed the damaru from a rather mystifying symbol into anindex pointing to the ultimate mystery of manifestation.


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The next important and very significant symbol associated with the form of Mahesha

is the Crescent Moon. What does a crescent moon suggest? Obviously, the idea of time. In

fact, all primitive people measure the passage of time by the phases of the moon and it is only

in advanced civilizations that the solar year is used. But the crescent moon suggests not only

the passage of time, it also suggests periodicity, which is found everywhere in Nature. The

passage of time is accompanied by cyclic changes in Nature, the cycle of day and night, the

cycle of the seasons and the year, the cycle of the four yugas and the still larger cycle of

manifestation and dissolution. Everywhere we find Nature working in cycles, smaller cycles

within larger cycles, wheels within wheels. Not only are there cycles but these cycles are

marked by waxing and waning phenomena as the wheel of Time revolves and its different

parts go up and come down. In every sphere of life we find birth, growth, zenith, decline and

death. The human body, the day, the seasons, civilizations, in fact, all natural phenomena are

subject to these cyclic changes and all these changes accompanied by waxing and waning are

also symbolized by the phases of the moon. It will be seen, therefore, that the moon is a very

apt symbol of the phenomenon of Time with its two important features: duration and

periodicity. Another important point to note in this connection is that the crescent moon is an

ornament of His body and not an integral part of it. This symbolizes the fact that Time is not

an essential feature of the Reality which Mahesha represents, for in Him who is changeless

and Eternal, Time becomes latent. It is only an ornament which He puts on when

manifestation takes place and puts off when dissolution follows. The unmanifest Reality

transcends Time.

We now come to another symbol, the Tiger's Skin on which Mahesha sits or which He

puts, round his loins. This symbol has acquired added interest on account of the modern

scientific theories regarding the origin of the Universe. According to Science the Universe is a

vast mechanism which starts with a tremendous but limited amount of energy which is used

up gradually until the mechanism runs down and the Universe is dead. In technical language

this is expressed by saying that the entropy of the system goes on increasing until it reaches a

maximum when the system stops working. The same is true of the smaller units of

manifestation like a solar system and the astronomers talk of the dying suns which can be

seen in the heavens through powerful telescopes. All this is easily comprehensible. But the

question arises: “How did the Universe start with a vast though limited amount of energy

needed for its running for billions of years?” From where did this energy come? Science has

no answer to this pertinent and significant question and all kinds of plausible theories have been put forward to account for this unexplained winding up of the clock of the Universe. The


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answer of Occultism to this important philosophical problem is definite, clear and rational.

Commonsense tells us that the material clock of the Universe cannot wind itself. There must

be some Agent which raises the Universe to its high level of energy at its beginning. In other

words there must have been a ‘creation’. And creation of this kind implies the prior existence

of a conscious and powerful Creator who out of His consciousness can create energy and

everything else needed for the manifested Universe. It is more reasonable to assume that

consciousness can produce energy than that insentient energy can produce itself or raise itself

to a higher level.

This explanation, so simple, so compelling in its reasonableness and having a solid

foundation in the experience of the highest occultists is not acceptable to modern Science. On

account of its obsession with the materialistic nature of the Universe and to account for

everything on a mechanistic basis, scientists will go to any absurd length and give the most

irrational explanations rather than tentatively accept a hypothesis which not only offers the

most reasonable solution of an insoluble problem but also gives meaning to life. But let us not

digress, but come back to the point under discussion.

As has been pointed out before, the energy required for running the machinery of any

manifested system must come from consciousness and the ultimate source of this energy is

the Shiva-Shakti tattva. The separation of the two poles in this Principle which must be a

change in consciousness develops an enormous potential universal power which can be

transformed through different mechanisms—spiritual, mental and material—for all the

purposes of all the universes that come into being. It is useless for man to try to visualize the

nature or the potential of this Primary Source of Power when he does not know as yet the real

nature of some of its lowest manifestations like electricity. In the present context it will be

enough to remember that this spiritual Energy is potential even up to the level represented by

the consciousness of Mahesha. For though He is the Lord of any manifested system, He is its

base, the hidden source from which everything needed in the system comes. This potential

energy, like electrical energy in a charged battery, is ready for any kind of work and it is the

fact of its being potential which is symbolized by the tiger's skin.

It is well known that a tiger is the vahana or vehicle of Durga and symbolizes power

in its most concentrated and active form. What more appropriate symbol could there be for

potential power which is present in the Maheshvara-Maheshvari tattva than a tiger's skin,

symbolizing inactive or ‘dead’ power. With our scientific ideas of potential energy this

symbol may appear rather crude, but from the point of view of an ordinary man who does notknow science there could not be a more apt symbol of concentrated but potential power.


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Just as a tiger is the vehicle of Maheshvari, a bull is the vehicle of Maheshvara. A

vahana in Hindu symbolism is a vehicle through which the power of a Devi or the function of

a Devata is exercised. The Sanskrit word for a bull is vrisha. This word also means

righteousness, morality, justice, and it is this second meaning which gives a clue to this

important symbol associated with Mahesha. The beneficent power and grace of Mahesha

manifests only where there is dharma or righteousness. Where there is unrighteousness there

is not only no descent of His beneficent power but, on the contrary, that of the terrible wrath

of Rudra which ultimately destroys the unrighteous and everything for which they work.

A bull is also a very apt symbol of sheer strength and symbolizes real spiritual strength

which can come only from a righteous life. The unrighteous, the dishonest, the cruel are the

weakest people really, in spite of their external haughty demeanour and the positions of power

in which they may be temporarily entrenched. They not only are weak but feel weak within

their heart of hearts and the outer bluster and show of strength is merely a mask to hide from

others and themselves the weakness which they feel inside.

Then we come to another mysterious symbol associated with Mahesha: His Third Eye.

It is generally believed that the three eyes of Mahesha represent His capacity to see in the

past, present and future. This interpretation appears to be only partially correct as the Third

Eye is frequently shown in the Puranic stories to have an active, in addition to the perceptive,

function. For example, He destroyed Kama Deva or Cupid instantaneously by the fire

emanating from His Third Eye when the latter tempted Him. The two ordinary eyes, as

normal organs of sensation in the human body, represent ordinary sight, but the Third Eye

symbolizes the power of non-instrumental perception and action which are referred to in the

Vibhuti Pada of the Yoga-sutras of Patanjali. These spiritual faculties are called Pratibha and

Vikarana-bhava and correspond to Jnanendriyas (the organs of knowledge) and

Karmendriyas (organs of action) on the lower planes and to Omniscience and Omnipotence

on the Divine planes. Through this, Mahesha as the Overlord ‘sees’ everywhere, everything

taking place in His manifested system in the past, present and future and can bring about any

result instantaneously without the possibility of failure or resistance of any sort from any

quarter.

We shall consider together, very briefly, two other symbols associated with the form

of Mahesh—the Trident and the Snake—before we close this chapter. Both these symbols

may appear rather incongruous in a form which represents the highest aspect of manifested

Divinity. For, the snake symbolizes evil and the Trident symbolizes punishment of threekinds, pertaining to the adhyatmika, adhidaivika and adhibhautika (Spiritual, Devic and


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physical worlds). How, it may be asked, can evil be associated with Divinity and how can the

Lord of Compassion who is called Shankara wield a terrible weapon of punishment? It is not

possible to go into this interesting philosophical question in detail. It will be enough to point

out here that according to Hindu philosophy the Ultimate Reality which is the basis of the

Universe is Whole, Complete and Perfectly Balanced. So in manifestation evil must counter-

balance good and punishment must go side by side with reward. These pairs of opposites must

exist together if the equilibrium of the perfect balance in the underlying Reality is to be

maintained and it is, therefore, not possible to have the one without the other. This does not

mean that evil and good stand at the same level and it is not necessary for the ordinary man to

reject the one and accept the other. What is meant by the symbolic representation of evil is

that in the consciousness of Mahesha, upon which rests the whole structure of the manifested

Universe, evil must be present, for, there can be nothing outside His consciousness as far as

that Universe is concerned. But in the Divine consciousness evil is harmless and is merely a

force which balances the good, and thus maintains the harmony of the whole. A snake which

is deadly for ordinary people plays harmlessly round the neck of Mahesha. The same

considerations hold good in a different way in the case of the Trident. In a scheme of Nature

which is associated with evolution and in which spiritual individuals are being evolved who

out of their own free will, will reject evil and follow good, and not by outer compulsion, evil

must be associated with pain and punishment, and good with pleasure and reward. This is the

only way in which inwardly free individuals can be evolved in freedom, and the law of Karma

with its so-called rewards and punishments becomes a necessary part of such an evolutionary

scheme. And if punishment in the form of pain is as necessary as reward in the form of

pleasure both must be a feature of the working of the Divine Will in manifestation. So the

Trident becomes in the hand of Mahesha not an instrument of cruel injury but an instrument

for bringing people back to righteousness when they stray from the path of dharma and need a

persistent reminder and a steady prodding for making them change their Course.


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CHAPTER VI

THE SYMBOLOGY OF TRIDEVA

LET US now deal very briefly with the symbology of Trideva (the Triple God)—Brahma,Vishnu and Rudra—and Their Consorts, Sarasvati, Lakshmi and Kali. This is a very

interesting subject but here it is possible to deal only with a few of the important symbols

associated with these Devatas and Devis. As has been pointed out in a previous chapter,

everything in the form of a Devata or Devi symbolizes something. In this chapter we can deal

with only a few salient features of this symbology. Let us start with Brahma and His consort

Sarasvati.

Brahma is the Creator. How are things created? Through the instrumentality of the

intellect. Before we create anything we have to have a plan or form of what we are to create in

our mind. So Brahma represents the Universal Mind or that aspect of Ishvara in which are

present all the laws, archetypes and plans of the Universe or the solar system over which He

presides. The Universe is considered to be the result of Divine Ideation and as evolution

proceeds, the Divine Plan unfurls in the Divine Mind in terms of time and space at different

levels and the souls which are part of His consciousness see it as a passing panorama in their

respective minds according to their location in time and space and the degree of development

which they have reached. Those souls which have penetrated into the heart of this Great

Mystery see this Universe unfolding in time and space as the result of Divine Ideation and are

not affected and ensnared by this so-called maya of Ishvara. They are the Jivanmuktas

(liberated ones) who live and work in this world and yet are free from its illusions.

Let us take a rapid glance at some of the important symbols associated with Brahma.

The most prominent feature of the form of Brahma is His four faces. Faces symbolize aspects

and the four faces of Brahma mean that the knowledge contained in the Universal Mind is of

four basic types. Since the Universal Mind contains the archetypes and the Divine Plan for the

whole period of a particular manifestation, it is not possible for us to grasp the tremendous

scope and significance of this totality of transcendent knowledge and how it is divisible into

four types. A more comprehensible interpretation in accordance with Hindu tradition is to

correlate these four types with the four Vedas which symbolize these four basic types of

knowledge. According to Occultism, the Vedas, as we know them now, are mere fragments of

a vast and lost literature which embodied, or tried to embody, the totality of knowledge. What

the original extent and scope of this knowledge was no one knows except high Adepts of


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Occultism, but it must have certainly reflected the fourfold nature of the Universal Mind. The

four Vedas as we have them now are its mere relics and reminders of the fourfold nature. This

is too vast and complicated a subject to be discussed fully here but what little has been said

will help us to get a glimpse into the inner significance of the four faces of Brahma.

The second symbol which we may take up for consideration is the Swan, the vehicle

of Brahma. Now, a swan is considered to be a symbol of beauty in Hindu tradition and its

association with Brahma as a vehicle is meant to point to the fact that the creative function of

Brahma expresses itself generally through beauty. We all know that wherever there is real

creative work, it is almost always associated with beauty. Every work of art is a thing of

beauty. Another quality associated with a swan is discrimination, the capacity to separate the

essential from the non-essential. Real knowledge always develops the capacity to discriminate

between the essential and non-essential and the deeper our knowledge the more easily we can

separate the milk of essential facts and principles from the water constituting the details with

which the essential is diluted as the proverbial swan of Hindu tradition is said to do. We

should not, however, mix up this lower intellectual discriminative faculty which is related to

the intellect with the higher type of discriminative faculty which is related to the Buddhi, and

which can discriminate between the Real and the unreal. As is well known the functions of

Brahma are related to the intellect and are exercised through the instrumentality of the

intellect. The book in one of the hands of Brahma also symbolizes the same fact, but a book is

a symbol of apara-vidya (the lower kind of knowledge), which can be acquired from an

external source and which is necessary for creating things in the lower worlds.

The Consort of Brahma is Sarasvati and since a Devi represents the power of the

corresponding Devata, the symbols associated with Her should suggest the ways and means

through which the function or functions of the Devata are exercised. Now, how is knowledge

represented by Brahma brought into use? Obviously through technique. When we have to put

any knowledge to practical use we must first develop a technique for doing so. Whether it is a

question of making an aeroplane or a piece of cloth or producing music or writing a book or

painting a picture we must first develop and acquire the necessary technique. The greater the

mastery of the technique the easier the utilization of knowledge and the more perfect the

production. Creative work presupposes the mastery of the necessary technique.

Modern Science provides wonderful examples of the extraordinary and sometimes

miraculous results which can be achieved by patient and intelligent development of various

kinds of techniques. Some modern techniques are extremely complicated, and marvels ofhuman ingenuity and team work. For example, the production of a bomber plane requires


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assembling of its different parts from two thousand eight hundred blueprints. The highly

specialized and great variety of techniques which are involved in the production of a

submarine or a rocket stagger our imagination. It is these infinite number of techniques which

are symbolized by the Vina (stringed musical instrument) in the hands of Sarasvati. All these

techniques, involved in all branches of art and science which have been discovered or are yet

to be discovered are part of the consciousness of Sarasvati, are in fact different expressions of

Her unlimited power which enables Her to translate into action the will of Her Lord in His

creative work in the Universe.

The symbology of Vishnu is quite different from that of Brahma because He is the

Preserver. His paramount function is to keep in equilibrium the infinite number of forces

which by their action and interaction keep the Universe in manifestation: the forces of

creation and destruction, the forces of expansion and contraction, the forces of change and

conservation. The four objects in His four hands give an extraordinarily clear indication of

His over-all functions in the Universe over which He presides.

The Conch-shell represents Nada which forms the very basis of manifestation as it is

through its agency that all kinds of forces can be generated and changes of form can be

brought about. The Pranava (the syllable Om) is the outermost expression of Nada or that all-

embracing subtle vibration from which the infinite variety of vibrations in the manifested

Universe are derived as the infinite number of colours are derived from white light. It is the

vachaka (word) of Ishvara. This mean not only that through its instrumentality the

consciousness of the individual Jivatma (soul) can be made to merge with the consciousness

of the Paramatma (Universal Spirit) but also that through its use all kinds of forces and

powers can be invoked by those who have the necessary knowledge and purity of mind. It is

really an expression on the physical plane of that fundamental Natural power-through which

the Natural functions of Ishvara are exercised and the necessary changes in the working of the

Universe brought about. Anyone who has heard the sound produced by a conch-shell and

observed its resemblance to Pranava will see at once the appropriateness of this common

object as a symbol of the power which resides in Nada. It is to invoke this primary divine

power that the conch-shell is sounded in all Hindu ceremonies and the Pranava is intoned,

before sankalpa, the resolve made at the beginning of every ceremony. In fact, all Vedic

mantras of high spiritual significance begin with the syllable Om.

The power symbolized by the conch-shell is the normal power through which all the

ordinary natural activities and forces are controlled and regulated. But sometimes these forcesgo beyond the limits which are permissible for a stable equilibrium with the result that the


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progress of evolution is seriously retarded and requires the special intervention of the Lord.

On such occasions His special power symbolized by His Chakra (discus) comes into play in

order to restore equilibrium. This extraordinary power is drastic, sudden and irresistible and

accomplishes instantly and completely whatever has to be accomplished. It may be exercised

on a big scale or a small scale, even for helping or destroying individuals but whenever and

wherever it is exercised it accomplishes His purposes without fail. The stories in the Puranas

illustrating the use of this extraordinary power of Vishnu are allegorical in nature and are

meant to show that when the forces of adharma or unrighteousness reach extraordinary

proportions and begin to endanger equilibrium in a particular system, reaction or retribution

comes swiftly and sweeps away everything before it. History provides some illustrations of

this phenomenon and even in the life around us if we keep our eyes open we can see Vishnu's

Chakra in action.

The gada and padma or the club and the lotus in the remaining two hands of Vishnu

symbolize the punishments and rewards which accrue to human beings from papa (the

misdeeds) and punya (beneficent deeds) done by them in the course of their life. Gada was a

weapon used in ancient India for punishing a person and a lotus is a well known symbol of

boon or reward granted by a Devata or Devi. The Law of Karma which is working in the

realm of human affairs and which automatically brings about the restoration of equilibrium

which we disturb by our actions is inexorable in its action. Good actions, emotions and

thoughts in the widest sense of these terms, called punya, bring experiences to the individual

which are pleasant, while evil actions or papa bring experiences which are unpleasant and so

not only restore the equilibrium but tend to bring back the individual to the path of

righteousness and ensure his evolution. Human beings are destined to follow the Universal

Law of Dharma or righteousness by inner choice as free individuals and not by outer

compulsion like automatons. So Nature has given them the freedom to do what they like but

invested every action which they do with an inherent quality to produce reactions according to

the nature of the original actions. So through attractions of pleasures and repulsions of pain

man is automatically and inexorably drawn to the path of righteousness or dharma in the long

course of his moral and spiritual evolution. Vishnu, being the Preserver, His power is

constantly restoring equilibrium wherever it is disturbed and the Law of Karma may,

therefore, be considered as an automatic or natural expression of this power in the evolution

of humanity.

Naturally, the power which enables Vishnu to exercise His over-all functions andwhich is symbolically represented by the Goddess Lakshmi should be associated with objects


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which are indicative of those functions. Let us take for instance, the power of preservation of

human life. We most frequently and rather crudely associate this power with wealth because it

is through wealth that we can procure all things necessary for our preservation such as food,

clothing and shelter. So in our materialistic age (with its crude ideal of “eat, drink and be

merry” Lakshmi has been almost completely identified with wealth, and this accounts for the

fervour and devotion with which she is worshipped at the time of Divali, the festival of lights.

Nobody looks at the jar containing amrita (nectar) which she holds in her hand as a symbol of

Immortality. For Vishnu is also the giver of mukti or Immortality and Lakshmi as His Consort

holds the jar of amrita which confers Immortality and thus gives us immunity from the

bondage of birth and death.

The remaining member of the Hindu Trinity, Rudra, is related to Mahesha and Shiva

as was pointed out in chapter V. As the distinction between the functions of Rudra, Mahesha

and Shiva is very subtle and not easy to understand, and also because these three names are

used almost interchangeably in different contexts in Hindu scriptures, let us not add to this

confusion by dealing with this interesting question here. We shall therefore pass over the

symbology of Rudra and Kali.


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CHAPTER VII

THE STORIES OF HIRANYAKASHIPU AND BHASMASURA

WE have so far dealt with symbols, both natural and artificial, to illustrate static symbolism.A closely allied method of representing truths of the inner life is in the form of allegories

which are examples of dynamic symbolism. An allegory is a story which may or may not

have any basis in fact. The Puranas are full of such stories which sometimes sound quite

absurd when read superficially but fascinate the mind by their aptness when we get a glimpse

into their inner and true meaning. I shall deal with two such stories which are meant to warn

people who, drunk with power, tread recklessly the path of adharma (unrighteousness) under

the mistaken notion that they can somehow, by their cleverness and ingenuity, evade the

consequences of their evil deeds. Both these stories are well known though I am doubtful if

many people understand their inner significance.

The first story is that of Hiranyakashipu. Although the story is well known, let us

recall its main features before we consider its inner significance. Hiranyakashipu was a king

of the

Documents

I.K. Taimni - An Introduction to Hindu Symbolism